The Impact of Using ICT in Music
If music technology is to support teachers in their development of pupilsâ musical learning, then there must be an identifiable benefit to specific areas of that learning. Teachers who are experienced in using technology describe three areas where they see particular benefits to pupilsâ learning:
This is an essential aspect of musical learning within the Orders of National Curriculum 2000. It is reflected in the Attainment Targets for music, with an âoverarching statementâ at the beginning of each Level representing the most important learning. For instance, at Level 6, the first sentence states 'Pupils identify and explore the different processes and contexts of selected musical genres and stylesâ. Detailed advice on how this can be translated into appropriate music planning and learning can be found at here
Teachers who have been using music technology effectively (and especially those who use keyboards with sequencers) describe how pupils can be taught to develop better musical understanding by:
Experiencing the 'wholeâ music or the complete piece. Instead of simply learning the 'easyâ bass part or the 'difficult counter-melodyâ, pupils can play all the parts of a piece, record them into a sequencer, and gain a real understanding of how all the parts interrelate. Their understanding is therefore significantly better than if they only played one part - no matter how good their ensemble and listening skills, it is very hard in this situation to understand how everything fits together.
Understanding the genre via the sounds and rhythms / styles. If pupils are directed to explore specific sets of sounds, or particular rhythm patterns or chord sequences, they can effectively gain understanding of a genreâs most significant features. For instance, when working on Jazz style pupils can be required to select sounds from a jazz 'selectionâ, and use the automatic styles to create authentic backings. Significant here is the ability again to see the 'wholeâ picture - by creating and working their own 'jazz bandâ instruments, pupils can understand how they interrelate.
Improving the techniques of composition. Teachers are very clear that by using sequencers (either on keyboards or computers), paired pupils are able to experiment with the 'conventions, processes and proceduresâ of the whole piece. This means that they understand, for instance, how the bass and guitar riffs relate to the chord sequence and the melodic lines in a way that they cannot do if they are playing one part in an acoustic, group composition.
It has long been acknowledged that the music technology can improve pupilsâ compositional skills. A powerful case for the use of technology in KS3 music was made in the publication 'The Creative Dreamâ by G. Odam (published by NAME in July 2000) which argued that pupils could only access the 'creativeâ curriculum if they had appropriate access to ICT.
One teacher who recently moved from a relatively traditional set of classroom resources to a set-up with a clear emphasis on ICT simply said 'Composition has improved immeasurablyâ. This seems to be the message - pupils using ICT gain a much better awareness of structure, texture and melodic, rhythmic and harmonic patterns / devices
Pupils experience fewer 'performance nervesâ if a sequencer is used. They only have to record when they are ready to do so, rather than being expected to conform to an undifferentiated time-scale. This has to be balanced by appropriate 'liveâ performing, but the confidence they gain in their 'privateâ performing seems to carry across into other work as well.
Pupils work at their own pace - weaker attaining pupils have time to develop their skills and work towards more advanced parts. In more traditional performing sessions, weaker pupils only ever play the easiest parts, and do not have the opportunity to work at developing more advanced skills over a period of time.
When pupils are required to record all the parts of a piece into a sequencer, they have to listen very carefully not only to the part they are recording, but also to the parts already recorded. This seems to improve their listening skills, and they are motivated to improve their rhythmic / ensemble playing skills. Again, this needs to be experienced in a live situation to be properly embedded, but the concentrated practice they are given in these areas when working on sequencer recording does seem to be effective
http://www3.hants.gov.uk/education/hms/hms-schools/hms-secondary/hms-music-technology/hms-impact-of-using-ict-music-standards.htm